"Jacob and I were both raised on 80's movies and the music of John Carpenter, Wendy Carlos, Vangelis, Jean Michel Jarre and others who pioneered the sound of that era," said Lovett. "Since the visual tone of Synchronicity is very much inspired by science fiction films from that time period, we wanted to approach the music with similar reverie to reinforce the overall aesthetic goals of the film." Lovett opted to work exclusively with vintage analog synthesizers, his first entirely electronic score. The music was recorded in Asheville, NCthe home of Bob Moog (inventor of the modular synthesizer) and Moog Music.

"The word 'synchronicity' refers to seemingly related things which are casually unrelated, and I wanted to echo this as much as possible in the music," Lovett described. "While there are recurring melodic elements related to specific themes in the film, there's also a thematic repetition of individual sounds which come and go, sometimes never playing more than a single note. The interplay of these smaller peripheral elements and the way they change slightly over time are kind of a road map for the time travel loop that occurs in the movie."

"Math is a fundamental principal of any discussion about time travel," said Lovett. "Even though the film doesn't get overly preoccupied with the mechanics of time travel (which is it's own complete wormhole) I wanted to help provide an element of technical sophistication and mathematical eloquence to support its role in the story."